ISSN: 2158-7051 ==================== INTERNATIONAL JOURNAL OF RUSSIAN STUDIES ==================== ISSUE NO. 4 ( 2015/1 ) |
THE IMAGE OF CHRIST AS A NETWORK MOTIF IN THE RUSSIAN LITERATURE
OLGA MAKININA
Summary
This research implements theories of
polyphony and dialogism (Bakhtin, 1981), intertextuality (Kristeva, 1993), and
network theory (Watts, 2003; Latour, 2007) to analyze the development of the
motif of Christ in Russian literature at the end of the 19th - first half of
the 20th century.
Keywords:
Christ,
Russian literature, 19th-20th century, network motif, intertextuality.
Introduction
This
research examines the development of the network of motifs and ideas in Russian
literature of the 19th – 20th century with a focus on Christian motifs, more
specifically the image of Christ. This image has been chosen as one of the most
complex and controversial character-idea types that change drastically under
the influence of changes in society and predominant political and philosophical
ideas being popular at the time the literary work is created. The reflection of
these changes in the image of Christ connects literature with real-life
communities and cultures, presenting writers and their ideas as nodes in the
socio-cultural and historical network of ideas and influences.
According
to Watts’s (2003) theory of social networks, in order for an idea to spread, we
need nodes-innovators (activators) who introduce ideas, and nodes - early
adopters. Thus, in terms of the social network theory, writers can be defined
as “early adopters”, i.e. “nodes that will switch from an inactive to an active
state under the influence of a single active neighbor” (p. 233). That means
that although writers do not always introduce new ideas into society, they respond
to the ideas that are already brooding and reflect upon them in their work,
thus, stimulating other people’s critical and aesthetic thinking.
The
image of Christ became especially controversial in the Russian literature at
the end of the 19th – first half of the 20th century, when active changes in
the society induced people to cut off religious ideas as something useless and
potentially harmful. The more surprising fact is that exactly during this time
of growing atheism among the population, Christ’s image, as well as other
religious motifs, became very popular and varied in literature. This research
focuses on several key literary works of the second half of the 19th century –
first half of the 20th century: novels by Fyodor Dostoyevsky “The Idiot” and
“The Brothers Karamazov”, “Doctor Zhivago” by Boris Pasternak, the poem “The Twelve”
by Aleksandr Blok, and the novel “Master and Margarita” by Mikhail Bulgakov,
which reflect major changes in the society and culture.
The
research is theoretically grounded on Mikhail Bakhtin’s (1981) ideas of
polyphony and dialogism in literary works, the actor-network theory by Bruno
Latour (2007), and the idea of intertextuality by Julia Kristeva (1993), who
was also influenced by Bakhtin. The concept of dialogism is perceived in this
research as connected with the interrelation of ideas and key motifs in the
works of different authors, rather than with a dialogue between different
characters presenting different ideas within a single novel. Likewise, the
actor-network theory that has traditionally been applied to the analysis of
dialogues between characters in plays is focused on the development of the
central motif and its interpretations, rather than on the interchange of speech
utterances between the characters. The research questions that stand up in the
light of network theory, theory of polyphony, and dialogism as related to the
intertwining of motifs concern three directions:
What
is the significance of Christ’s image in rendering the author’s ideas, and what
is the connection between the literary image and socio-cultural and political
influences?
How
does the motif develop and change from the original version (i.e. The Bible) to
its different interpretations? What are major factors influencing these
changes? What is left from the original, and what presents a completely new
idea dressed up in a habitual way?
Connections
between different interpretations of the same image: Are the authors and ideas
in dialogical and polemical relations with the original source or with one
another’s versions?
Theories of
Dialogism, Intertextuality, Polyphony, and Actor-Network
The
network of literary texts of different authors is created through
interconnection between ideas and recurrent motifs. According to Bakhtin’s
theory (1981), no literary text can be studied independently from the others,
since they influence and interpenetrate each other. Moreover, an individual
literary work is fully understood only in its relation to other works of the
same author, as well as to the works of his/her predecessors and successors.
Following Bakhtin (1981), Kristeva (1993) invents the term “intertextuality”
that allows explaining specifics of a network of literature. Intertextuality
implies different influences on the text that are reflected in the variety of
direct and indirect citations, allusions, and reminiscences. Motifs are one of
the main characteristics of the intertext.
According
to Bakhtin (1981) and Kristeva (1993), intertextuality is created out of
various sources. Apart from the writers’ influence on one another, literary
works are also formed as a result of an author’s reaction to certain aspects of
socio-cultural reality. That means that
a literary work reflects voices of communities and epochs in the author’s
subjective interpretation. Therefore, as Bazerman (2004) states, each literary
work is original only to a certain extent, and it is important to determine a
shared cultural experience in an individual text.
Bakhtin
(1981) also argues for a relative objectivity of the text, since the novel does
not only reflect an author’s view and ideology, but incorporates the voices of
other people not necessarily belonging to the author’s social class. Thus,
Bakhtin (1981) compares a literary work to a discourse of dialogical or
polylogical nature. The author reconstructs other voices and opinions in their
work, be it the voices of writers of previous generations,
fellow-contemporaries’ voices or even future voices in the form of hypothetical
ideas. Bakhtin (1981) speaks about the polyphonic nature of a novel, since it
renders opinions of different characters, quite independent from the author’s
personal view of the situation. Moreover, the author’s voice does not have any
advantage over the voices of the characters. When analyzing Dostoyevsky’s
novels, Bakhtin (1972) re-created a complex network of ideas and
character-types as related to one another, introducing the character and idea
counterparts. All these characters receive an equal right to voice their ideas
and life views, while the author’s personality and opinion dissolves into the
voices of his characters and socio-historical influences.
Bakhtin’s
theory can be correlated with Moretti's (2011) interpretation of Latour’s (2007)
actor-network theory. Moretti (2011) attempted to re-create a network in
Shakespeare’s Hamlet based on relations of the characters. Moretti (2011)
analyzed the play’s plot stating that “a network is made
of vertices and edges; a plot of characters and actions”
(p. 3). According to Moretti (2011), actions are the character’s utterances in
the system of complex relationships. As novels and other literary genres are
not built on dialogue, Moretti (2011) considers that it is more difficult to
create a network when analyzing other literary forms. However, Spinuzzi (2008)
identifies the actor-network theory’s specifics when claiming that
“actors-networks are assemblages of humans and nonhumans; any person, artifact,
practice … can be considered a node in the network” (p. 7). Therefore, since an
idea is a kind of mental practice, it is possible to analyze the network of
different literary works considering recurrent ideas and motifs as nodes
instead of actions and speech acts. Moreover, the actor-network theory introduces
the concept of rhizome that is “made up of diverse, heterogeneous materials”, and
“any point in the rhizome can be connected to anything else” (Spinuzzi, 2008,
p. 7). Literary motifs can be named
rhizomatic, since they develop into new ideas when connecting to other motifs
in no particular order. For example, in Pasternak’s novel “Doctor Zhivago” the
religious motif of Christ in Gethsemane is connected to Hamlet making his
choice, while in Bulgakov’s novel “Master and Margarita” religious motifs relate
to motifs of creation, justice, and guilt. Thus, one node connecting with other
nodes can be interpreted differently in dependence on the context, i.e.
surrounding nodes.
Irvine (2004)
applies the concept of rhizome to Bakhtin's (1981) polyphony in novels, i.e.
incorporation of "many voices, styles, references, and assumptions not a
speaker's "own" into literary work. The rhizomatic structure has no
center, and, according to Bakhtin (1981), there is no center, i.e. a dominant
ideology in the novel. The literary work does not claim to be a true
representation of the world as it is, but presents different, sometimes
ambiguous versions of reality and ideologies.
In
this research, the Bakhtinian concept of polyphony is extended from a novel
form to all forms of literary works, since polyphony is understood not only as
polylogue among characters and ideas of a single novel, but also as the
relation of a particular work’s ideas and motifs to ideas and motifs of other
literary and non-literary oral and written works and voices of discourse
communities. The religious motif of Christ coming into the world develops
through generations, and in each literary work, it is interpreted differently
in dependence on social, historical, and philosophical contexts and ideas provided
by the author and his characters. Therefore, it is possible to follow the
development of an intertextual network that has started from a single
node-activator – text of the Bible, and has been extended through a variety of
cultures and epochs, through the prism of individual and collective
consciousnesses to find its representation in multiple literary works of
Russian writers, and connect it with other networks of motifs and ideas.
According
to Bazerman (2011), who blends Bakhtin’s (1981) idea of polyphony and
dialogism, and Kristeva’s (1993) idea of intertextuality, when analyzing
literary works it is important to attend to the five dimensions of intertext:
1. How much one text takes from other texts, and
how it adopts this material;
2.
The forms of this adoption: direct
quotations, paraphrasing or distant similarity in situations;
3.
How the text connects with other texts, literary epochs and places;
4.
How the author synthesizes and modifies meaning of an intertextual material in
a new context;
5.
The rhetorical function of the intertextual material in a different text.
Functions and
Development of the Image of Christ
The
traditional Biblical version describes Christ as an earthly embodiment of a
spiritual idea of forgiveness and self-sacrifice for the others’ benefit. He is
the messenger of God to the people to save humanity from sins. However,
Epanishnikova (2007) claims that there is something more in the image of Christ
than people usually perceive. Having analyzed the descriptions of Christ in the
New Testament, she summarizes them into somewhat different characteristics.
Christ is the person, who was named a dangerous rioter by ancient governors,
who was followed by crowds of admiring people, who inspired others not only by
his preaching, but by his actions, who was decisive and uncompromising, and
able to act and experience strong feelings. In the view of these characteristics,
it is understandable why Christ and motifs connected with his image were so
popular in the Russian literature of the second half of the 19th – first half
of the 20th centuries. According to Bakhtin (1981), a literary work
reflects socio-cultural reality and the life of communities of certain epochs.
What were the epochs of Blok, Bulgakov, Dostoyevsky, and Pasternak?
Novels “The Idiot” (1869) and “The
Brothers Karamazov” (1880) were written in a tumultuous time. To name only a
few of the historical events, abolition of serfdom, radicalism of political
movements that ended in the assassination of Tsar Aleksandr II, different
philosophical and political ideas starting from slavophilism and ending with
nihilism, liberalism, and socialism. Blok’s
poem “The Twelve” (1918) was created directly after the Revolution of 1917. The
novel “Master and Margarita” (1937) reflects the time of repressions in the
30s. Finally, “Doctor Zhivago” (1956) was written after World War II, but the
author’s narrative returns to the time of the Russian Revolution and
post-revolution years. According to Eco (1989), creating a literary work means
creating a universe, i.e. network. All political, philosophical, and
socio-cultural trends are presented in the above-mentioned literary works in
combination with universal issues, and the image of Christ links the present
with the past, the novel universe with real-life events and communities and
creates “dialogued
interrelation of languages” (Bakhtin, 1981, p. 358).
This
research attempts to follow connections between the authors’ universes as parts
of the whole cosmological body of literary and non-literary reality. The image of Christ is interpreted in several
ways. First, the main character of a literary work can be more or less
associated with Christ (“The Idiot”, “Doctor Zhivago”). Second, the image of
Christ is introduced as a side-story often narrated by one of the characters
(In “The Brothers Karamazov” Ivan tells the legend of the Great Inquisitor; in
“Master and Margarita” the story of Pontius Pilate is first written by Master,
and then, narrated by Woland). Finally, Christ can appear as a symbol (Blok’s
poem “The Twelve”).
Christ-like Character
Prince
Myshkin in Dostoyevsky’s novel “The Idiot” was intended by the author as an
embodiment of an ideal positive person, who lives in the reality far from the
ideal. His title “Prince” and traits of his character make Myshkin close to
both, Christ and Prince Hamlet. Like Christ, he sacrifices himself for the good
of others, and like Hamlet, he is tortured by the problem of choice that he
cannot make because, notwithstanding his decision, someone will inevitably be
hurt. However, Prince Myshkin is not able to fight for good, and he is helpless
in his attempt to help people. He is humiliated and laughed at by other
characters. His last name “Myshkin”, a derivative from the word “mouse”,
intensifies the idea of humility and self-sacrifice. Kovalev (2010) compares
the image of Myshkin with the reproduction of Goldbein’s painting “Dead Christ”
that appears in the novel, stating that Myshkin is Christ, who was not able to
resurrect, and who was crushed by the ruthless fallen world of sinners. Myshkin
is also compared by the novel’s other characters to the poor knight Don Quixote
struggling against the mill.
Likewise,
Yuri Zhivago, the main character of Pasternak’s novel, becomes a Christ-like
character through his sufferings. The plot of "The Idiot" and
"Doctor Zhivago" is similar in the sense that both, Yuri Zhivago and
Prince Myshkin, want to make the world better and fail, both are captured in
complex feelings for two women at the same time. One of the women is the
embodiment of fertility and pure simplicity (Tonya - Aglaya), another is a vile
desecrated beauty (Lara – Nastasya Filippovna). The connections are further
shown in the history of the novel. The first draft of the novel title was “The
notes of Patrikiy Zhivult”, and this name is translated as the “knight of life”.
It refers us to the image of Myshkin and Don Quixote. The end of the novels is
tragic, since both characters are crushed. As Sedakova (2002) mentions, the
saint is involved in the force field of social, historical, and political
events, and is left powerless and will-less.
One
of Yuri Zhivago’s poems is entitled “Hamlet”, and the main character is
presented as the actor on the stage who prays to God: “Take away this cup, O
Abba Father, Everything is possible to Thee” (Pasternak, Hamlet). The cup is the symbol of the inevitable fate. In another poem “The Garden of Gethesemane”
the parallels between Zhivago and Christ are even more evident. Likewise the
New Testament, the cup is the symbol of martyrdom, Calvary, the cross, death,
and voluntary self-sacrifice. The main character feels lonely and doomed:
And looking at those dark abysses,
Empty and endless, bottomless deeps,
He prayed the Father, in a bloody sweat,
To let this cup pass from His lips (Pasternak, The Garden of Gethsemane).
The Story of Christ as a Side Story
Several
Russian literary works (Dostoevskky’s “The Brothers Karamazov”, and Bulgakov’s
“Master and Margarita”) present the story of Christ in the context of the whole
plot. The story is only indirectly connected to ideas and actions taking part
in the novels. The main purpose of its use is to voice eternal philosophical
questions of what is good and evil, who is wrong, why people suffer, etc. that
disturb and doom the main characters. Sometimes the author uses a side story in
order to reveal some important issues about one of the characters without an
explicit description or psychological analysis.
According
to Vlasov (2008), the dialogue between Yuri Zhivago and another character,
revolutionary Strelnikov-Antipov, can be compared to the legend about the Great
Inquisitor in “The Brothers Karamazov” by Dostoyevsky. Strelnikov is associated
with the character of the Great Inquisitor interrogating Christ. Both,
Strelnikov and the Great Inquisitor, reject love of God and spiritual values
for the service of humanity. These ideas are reflections of ideas of socialism
and equal rights that were at the basis of the Russian Revolution. However, the idea of good is based on
totalitarism and terror, and “godless love turns to hatred” (Mochulsky, 1995),
since people are forced rather than encouraged to change their ways of living.
In
the legend about the Great Inquisitor, however, good and evil are ambivalent to
some extent, and the dialogue between the Christ-like character and the Great
Inquisitor is the dialogue about the correlation of freedom and power, since
power can lead people to freedom and a better life, but it can also stifle
their voices. The legend is told by one of the main characters, Ivan, who, like
Rodion Raskolnikov from another Dostoyevsky's novel Crime and Punishment, is
obsessed with the idea of violence for the better good. In the end, both, the
Great Inquisitor and Ivan, deny Christ not for the sake of a better future for
humanity, but because they are afraid to stop playing their role as rebels and
adversaries.
As
in “The Brothers Karamazov”, in Bulgakov’s novel “Master and Margarita” Christ
(who is periphrastically named Yeshua) is not a central character. We see him
through the prism of Pontius Pilate’s perceptions. Like Prince Myshkin and Yuri
Zhivago, Yeshua embodies the idea of forgiveness and absolute love for
humanity. However, he is deprived of the divine nature of the Biblical Christ.
He is a real man with physical weaknesses, fears and uncertainties. He is not a
counterpart for Pontius Pilate, but rather his interlocutor and later on his
defender. Christ’s (Yeshua’s) fate correlates to the fate of Master’s novel
that is destroyed by its creator, and then, brought back to life by Woland’s
famous words about manuscripts that do not burn. As a representation of the
sublime beauty, art and creativity are non-transient, and so is the idea of
love for humanity, kindness, and self-sacrifice.
Christ as a Symbol
In Blok’s poem “The Twelve” Christ is
not an active character. He appears as a hardly discernible ambiguous symbol.
The band of revolutionary soldiers rambles around the streets protecting them
from “bourgeois”. …and wrapped in wild snow at their head This
symbolic image has become the reason of many debates among literary critics and
researchers. Perhaps, Blok himself was not quite in agreement with his idea,
since he noted in one of his diaries that sometimes he hated this feminine
vague concept (Blok, 1918). The majority of literary researchers nowadays are
divided into several groups. Some state that Christ of Blok’s poem is in
reality the Antichrist (Lavrov, 2000) who came to ruin the world, “carrying a
blood-red flag” (Blok, The Twelve). Others are less negative, and
perceive Christ as a symbol of change (Kotrelev, 2000) and arrival of the new
world order as the old hungry dog limping behind the soldiers represents the
old world order. This idea can be supported by the number of soldiers, which is
the same as the number of apostles. On the other hand, Christ might be
interpreted as a compassionate observer of human beings for whom he sacrificed
his life, and they again renounce him for the sake of atheistic ideas. He is
“invulnerable where bullets crossed” (Blok, The
Twelve), which means that he has
resurrected once, and will resurrect again. The majority of criticism at
present (Lesnevsky, 2000) consider the symbol of Christ in the poem as the
embodiment of an idea of forgiveness and compassion standing against blind
cruelty and entangled human relations. The last perception connects the symbol
with “The Idiot” and “The Brothers Karamazov” by Dostoyevsky, and “Master and
Margarita” by Bulgakov. Magomedova (2000) explicitly states that “никакой иной нравственной силы, способной преодолеть аморализм стихии … кроме этики сострадания, любви и признания ценности каждой человеческой жизни, — этики, которая веками связывалась с именем Христа, — не существует” [there is no other moral force that is
able to overcome the amoralism of the storm … except ethics of compassion,
love, and recognition of the value of each human life – the ethics that for
centuries was associated with the name of Christ]. Blok’s
Christ is also connected with the description of the storm in “Doctor Zhivago”
that penetrates the novel as one of its key concepts. The wild snow around Christ symbolizes the
storm of socio-political changes (war and revolution). In one of the poems in
“Doctor Zhivago” we can see similar interpretation: “It snowed and
snowed, the whole world over, The storm represents the changes
that crush people’s lives, and temporarily destroy all that is good and bright.
Yet life goes on (“a candle burned”). Although individuals, such as Doctor
Zhivago, might suffer and be forced out of life, others will come to replace
them. Similarly, in “The Twelve” Christ instills hope even in the doomed future
of Russia. Another
possible connection involves the concept of art and creativity in “Master and
Margarita”. According to Gasparov (1993), the concept of Christ in the snow
storm is related to the idea of freedom of creativity and a total liberation of
spirit. In this view point, Christ is the symbol of the coming of a new age in
literature and art, as well as new society perspectives. Similarly, in “Master
and Margarita”, Master’s novel creatively re-interprets the biblical story of
Christ. Thus, although all Christ images
in literary works are somewhat different from the traditional biblical
character, only Blok’s Christ and Master’s Yeshua can be considered truly
revolutionary embodiments of the original idea. Conclusion The
short comprehensive review of the above-mentioned literary works indicates that
intertextuality is the main characteristic of literature as such. A work of art
interacts with other works and opinions, with history, culture, and society,
and therefore, as Losev (1990) states, a literary work renders not only the
author’s idea and personal vision of the situation and problem, but the
specifics of communities and the socio-historical process, in which the author
participates voluntarily or involuntarily. Biblical
motifs carry on universal truths. The biblical history is interpreted as a
timeless circle of the development of humanity in the course of changing epochs
and communities. Probably, this is the main reason of the variety of
interpretations of evangelic motifs. In the course of “re-writing” the Bible,
the original source is marked by multiple varied changes, and each consecutive
literary work correlates not only with the New Testament, but with previous
versions and re-drafts of other writers. As a result, the motif as a node gets
more and more links, and becomes much more complicated and multilateral than
the original plot of the Bible. Thus, not only previous versions influence
subsequent works, but later versions have an impact on the perception of the
original, so that in the end, the original source and its variations become
interchangeable and protract when joining new nodes and networks. This interchangeability
is demonstrated in the development of the Christ motif network in the works by
Blok, Bulgakov, Dostoyevsky, and Pasternak. The image of Christ is connected
with key-concepts of forgiveness, self-sacrifice, compassion, creativity, and
freedom of choice, and evolves from the biblical ideal of the Son of God to its
earthly incarnations (Prince Myshkin, Doctor Zhivago, and Yeshua). The biblical
motif connects with other literary characters such as Prince Hamlet and Don
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connected age.
New York: W. W. Norton & Company Inc. *Olga Makinina - PhD candidate in Applied Linguistics and Discourse Studies, Carleton University, Canada e-mail: olga.makinina@gmail.com
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JOURNAL OF RUSSIAN STUDIES
carrying a blood-red flag -
soft-footed where the blizzard swirls,
invulnerable where bullets crossed -
crowned with a crown of snowflake pearls,
a flowery diadem of frost,
ahead of them goes Jesus Christ (Blok, The
Twelve).
Snow swept the world from end to end.
A candle burned on the table;
A candle burned” (Pasternak, Winter Night).